Based on a long series of modern studies, [James Q.] Whitman says the Nuremberg Laws were crafted so as to create citizenship laws based on racial categories. The main motive for the legislation was to prevent mixed marriages, which would lead to the birth of mixed-race children and "racial pollution." At the center of the debate that preceded the Nuremberg Laws was the aspiration to construct a legal code that would prevent such situations. American precedents, which were meant to make African-Americans, Chinese and Filipinos second-class citizens, provided inspiration for the Nazis.

Kobena Mercer, Professor of History of Art and African American StudiesYale University

Foreword by:

Henry Louis Gates, Jr., Alphonse Fletcher University Professor; Director of the W. E. B. Du Bois Research Institute at the Hutchins Center for African and African American ResearchHarvard University

In The Fateful Triangle—drawn from lectures delivered at Harvard University in 1994—one of the founding figures of cultural studies reflects on the divisive, often deadly consequences of our contemporary politics of identification. As he untangles the power relations that permeate categories of race, ethnicity, and nationhood, Stuart Hall shows how old hierarchies of human identity in Western culture were forcefully broken apart when oppressed groups introduced new meanings to the representation of difference.

From the Renaissance to the Enlightenment, the concept of race stressed distinctions of color as fixed and unchangeable. But for Hall, twentieth-century redefinitions of blackness reveal how identities and attitudes can be transformed through the medium of language itself. Like the “badge of color” W. E. B. Du Bois evoked in the anticolonial era, “black” became a sign of solidarity for Caribbean and South Asian migrants who fought discrimination in 1980s Britain. Hall sees such manifestations of “new ethnicities” as grounds for optimism in the face of worldwide fundamentalisms that respond with fear to social change.

Migration was at the heart of Hall’s diagnosis of the global predicaments taking shape around him. Explaining more than two decades ago why migrants are the target of new nationalisms, Hall’s prescient vision helps us to understand today’s crisis of liberal democracy. As he challenges us to find sustainable ways of living with difference, Hall gives us the concept of diaspora as a metaphor with which to enact fresh possibilities for redefining nation, race, and identity in the twenty-first century.

In the summer of 1983, the Jamaican scholar Stuart Hall, who lived and taught in England, travelled to the University of Illinois at Urbana-Champaign, to deliver a series of lectures on something called “Cultural Studies.” At the time, many academics still considered the serious study of popular culture beneath them; a much starker division existed, then, between what Hall termed the “authenticated, validated” tastes of the upper classes and the unrefined culture of the masses. But Hall did not regard this hierarchy as useful. Culture, he argued, does not consist of what the educated élites happen to fancy, such as classical music or the fine arts. It is, simply, “experience lived, experience interpreted, experience defined.” And it can tell us things about the world, he believed, that more traditional studies of politics or economics alone could not.

A masterful orator, Hall energized the audience in Illinois, a group of thinkers and writers from around the world who had gathered for a summer institute devoted to parsing Marxist approaches to cultural analysis. A young scholar named Jennifer Daryl Slack believed she was witnessing something special and decided to tape and transcribe the lectures. After more than a decade of coaxing, Hall finally agreed to edit these transcripts for publication, a process that took years. The result is “Cultural Studies 1983: A Theoretical History,” which was published, last fall, as part of an ongoing Duke University Press series called “Stuart Hall: Selected Writings,” chronicling the career and influence of Hall, who died in 2014…

Lawrence Grossberg, Morris David Distinguished Professor of Communication and Cultural StudiesUniversity of North Carolina, Chapel Hill

The publication of Cultural Studies 1983 is a touchstone event in the history of Cultural Studies and a testament to Stuart Hall’s unparalleled contributions. The eight foundational lectures Hall delivered at the University of Illinois in 1983 introduced North American audiences to a thinker and discipline that would shift the course of critical scholarship. Unavailable until now, these lectures present Hall’s original engagements with the theoretical positions that contributed to the formation of Cultural Studies. Throughout this personally guided tour of Cultural Studies’ intellectual genealogy, Hall discusses the work of Richard Hoggart, Raymond Williams, and E. P. Thompson; the influence of structuralism; the limitations and possibilities of Marxist theory; and the importance of Althusser and Gramsci. Throughout these theoretical reflections, Hall insists that Cultural Studies aims to provide the means for political change.

Stuart McPhail Hall was born on February 3 1932 in Kingston, Jamaica, into a middle class family which subscribed to what he called “the colonial romance”. His father, Herman, was the first non-white person to hold a senior position – chief accountant – with United Fruit in Jamaica. Both his parents had non-African components in their ancestry, though as he recalled: “I was always the blackest member of my family and I knew it from the moment I was born.”

Growing up in what he called the “pigmentocracy” of the colonial West Indies had a profound effect on Hall’s childhood and outlook. His mother forbade him from inviting black school friends home, even though to white eyes he was black himself. When his sister fell in love with a black medical student, their mother barred her from seeing him. As a result she suffered a mental breakdown.

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Influential cultural theorist, campaigner and founding editor of the New Left Review

When the writer and academic Richard Hoggart founded the Centre for Contemporary Cultural Studies at Birmingham University in 1964, he invited Stuart Hall, who has died aged 82, to join him as its first research fellow. Four years later Hall became acting director and, in 1972, director. Cultural studies was then a minority pursuit: half a century on it is everywhere, generating a wealth of significant work even if, in its institutionalised form, it can include intellectual positions that Hall could never endorse.

The foundations of cultural studies lay in an insistence on taking popular, low-status cultural forms seriously and tracing the interweaving threads of culture, power and politics. Its interdisciplinary perspectives drew on literary theory, linguistics and cultural anthropology in order to analyse subjects as diverse as youth sub-cultures, popular media and gendered and ethnic identities – thus creating something of a model, for example, for the Guardian’s own G2 section…

Stuart Hall was a cultural theorist who coined the term ‘Thatcherism’ and profoundly influenced New Labour

Stuart Hall, who has died aged 82, came to Britain from his native Jamaica in 1951 and established himself as a leading cultural theorist and as a hero of the intellectual Left.

A trenchant critic of Thatcherism (a term he coined), Hall had a huge impact on the reconfiguration of Left-wing thinking that underpinned the rise of New Labour, while his contributions to the theory of “multiculturalism” entered the political mainstream.

Hall arrived in Britain from Jamaica on a Rhodes Scholarship to Merton College, Oxford, soon after the first wave of Windrush migrants from the Caribbean. He was thus able to witness the reaction of the motherland to its colonial subjects turning up on her doorstep, and the prejudice he encountered inspired him to become involved in politics.

After abandoning a PhD on Henry James in 1958, Hall became the founding editor of the New Left Review, which did much to open a debate about immigration and the politics of identity. He went on, with Raymond Williams and Richard Hoggart, to establish the first Cultural Studies programme at a British university in Birmingham in 1964. In 1979 he moved to the Open University as a Professor of Sociology and for nearly two decades his early morning broadcasts on BBC2 became compulsory viewing for any self-respecting socialist intellectual.

Hall first coined the word “Thatcherism” in a prescient article in Marxism Today in January 1979, four months before Margaret Thatcher herself entered Downing Street. The Conservative leader had been patronised by many on the Left as little more than a shrill housewife. Hall was one of the first to acknowledge that Britain was entering a new era of politics…

…Stuart McPhail Hall was born on February 3 1932 in Kingston, Jamaica, into a middle class family which subscribed to what he called “the colonial romance”. His father, Herman, was the first non-white person to hold a senior position – chief accountant – with United Fruit in Jamaica. Both his parents had non-African components in their ancestry, though as he recalled: “I was always the blackest member of my family and I knew it from the moment I was born.”

Growing up in what he called the “pigmentocracy” of the colonial West Indies had a profound effect on Hall’s childhood and outlook. His mother forbade him from inviting black school friends home, even though to white eyes he was black himself. When his sister fell in love with a black medical student, their mother barred her from seeing him. As a result she suffered a mental breakdown…

The National Gallery of Art
East Building Auditorium
Between 3rd and 9th Streets, N.W. along Constitution Avenue N.W.
Washington, D.C.
2014-01-19, 16:30 EST (Local Time)

The celebrated Jamaican-born sociologist and theorist Stuart Hall (b. 1932) is the founding father of cultural studies — the popular interdisciplinary field that has reworked the way in which cultural patterns are studied within societies. Combining archival imagery, home movies, and found footage with new material and a uniquely crafted Miles Davis soundtrack, “John Akomfrah’s filmmaking approach matches Hall’s intellect, its intimate play with memory, identity, and scholarly impulse traversing the changing historical landscape of the second half of the twentieth century” — British Film Institute. (John Akomfrah, 2013, DCP, 95 minutes)

In recent years, race and ethnicity have been the focus of theoretical, political, and policy debates. This comprehensive and timely reader covers the range of topics that have been at the center of these debates including critical race theory, multiracial feminism, mixed race, whiteness, citizenship and globalization. Contributors include Angela Davis, Stuart Hall, Richard Delgado, Robert Miles, Michael Eric Dyson, Saskia Sassen, Étienne Balibar, Patricia Hill Collins, Renato Rosaldo, Stanley Aronowitz, and Collette Guillaumin.

Table of Contents

List of Contributors

Acknowledgments/Copyright Information

Introduction

Part I: Mapping The Languages of Racism

1. Does “Race” Matter? Transatlantic Perspectives on Racism after “Race Relations” Robert Miles and Rodolfo D. Torres

This article tackles the issue of “hyphenated identities” in Heidi W. Durrow’s novel The Girl Who Fell from the Sky (2010), whose main topic is growing up as a girl of mixed race in a dominant black culture. This article examines how Rachel Morse, the main character in the novel, challenges racism and the essentialist notion of identity. Firstly, Stuart Hall and Paul Gilroy’s approaches to that issue are introduced and discussed. Then in relation to their theories an interpretation of Durrow’s fictional character is delivered. As the third part of the article, elements of Danish culture appearing in Durrow’s are presented and analyzed as well as the novel’s explicit intertextual references to Nella Larsen’s authorship, another mulatto woman writer of half-Danish origin. In accordance with Gilory’s theory, the article’s aim is to show that Rachel’s identity is born in the process of self-reflection where Danishness becomes her ‘crossroads’ and thus to confirm that such phenomena as culture, ethnicity and identity are constantly constructed and altered.

“With deepest gratitude and respect” – If there is a moment when the pieces of Akomfrah’sThe Stuart Hall Project fall into place, it is with this closing note. Gratitude and respect might seem like old fashioned words, pointing to sentiments which are thought to be out of date. They bring to mind images of unashamed acts of deference, of laying prostate (whether physically or intellectually) in front of an elder, but on the flip side there is nothing wrong with paying some dues. There is nothing wrong with acknowledging a debt, when you know how and why that debt has been earned. Gratitude and respect. With deepest gratitude and respect. Akomfrah is reaching for something infinite here, something he knows he owes Hall, but equally that neither he nor Hall would ever have any interest in cutting a deal on. There is a sense in which perhaps the film is clouded by those sentiments. It can be construed as one-eyed in its attempt to mark Hall’s importance to the history of intellectual and political life in this country, but I think such criticism might be missing the point: Hall is the condition of possibility for too many of us to forget what it is we owe him, and there is a danger, in our current moment, that such an act of collective forgetting might already be underway. It is between gratitude and the refusal to turn that gesture into credit, that The Stuart Hall Project goes to work…